Armour of God (1986) Review | This Is An Excellent Action Classic

Armour of God is Jackie Chan swinging for the fences.

This is Jackie in full international superstar mode, combining globe-trotting adventure, breathtaking stunts and his trademark physical comedy into one hugely entertaining package. Inspired by the spirit of Indiana Jones, but infused with Hong Kong action cinema’s fearless energy, Armour of God sees Jackie pushing himself harder than ever in a film overflowing with ambition.

Jackie stars as Asian Hawk, a globe-trotting adventurer, treasure hunter and reluctant hero whose latest mission sends him racing across Europe in search of the legendary Armour of God. Confident, charismatic and endlessly resourceful, Hawk is another classic Jackie Chan creation—a man who constantly finds himself in impossible situations and somehow survives through quick thinking, determination and a little bit of luck.

The opening sequence immediately sets the tone.

Jackie steals an ancient artefact from a remote tribe before launching into a frantic jungle escape that climaxes with him leaping aboard a hot-air balloon. It’s outrageous, inventive and packed with the kind of infectious energy that defines the entire film. From that moment onwards, Armour of God barely slows down.

The chemistry between Jackie, Alan Tam and Lola Forner gives the adventure genuine charm. Alan Tam is the perfect comic foil, forever finding himself completely out of his depth, while Jackie effortlessly bounces between action hero and comedian. Lola Forner brings confidence and charisma to the team, ensuring the trio remain entertaining even during the film’s quieter moments.

As always, though, it’s the action that steals the show.

The Mitsubishi chase is slick, fast-paced and beautifully staged, making full use of narrow European roads and Jackie’s fearless driving. The monastery infiltration delivers everything fans expect from a Jackie Chan set-piece, blending stealth, improvisation and comedy before inevitably descending into complete chaos.

Then there’s the unforgettable fight with the warrior monks.

It’s one of the most imaginative action sequences of Jackie’s career. The choreography is fast, inventive and packed with perfectly timed physical comedy, turning every room, doorway and obstacle into part of the fight. It’s classic Jackie Chan—creative, unpredictable and endlessly entertaining.

The finale raises the stakes even higher.

Inside the cavern hideout, Jackie fights wave after wave of opponents while using every pillar, rope and ledge to his advantage. The choreography constantly evolves, making the environment feel just as important as the combat itself. Every movement feels dangerous, every leap calculated and every stunt astonishingly real.

Watching the film today, it’s impossible not to think about the production’s most infamous moment.

Early in filming, Jackie suffered one of the most serious injuries of his career after falling from a tree during a stunt, fracturing his skull and requiring emergency surgery. Knowing how close he came to tragedy makes the commitment on display throughout Armour of God even more remarkable. Every sequence serves as a reminder that Jackie wasn’t relying on visual effects or safety nets—he was putting everything on the line for the audience.

What makes Armour of God so memorable isn’t just its spectacular stunt work.

It’s the sheer ambition behind it.

Jackie wasn’t content making another martial arts film. He wanted to create a globe-spanning adventure that could stand alongside Hollywood’s biggest productions while retaining the speed, creativity and physical brilliance that made Hong Kong cinema unique.

The story occasionally takes a few uneven turns, but it hardly matters when the film delivers this much entertainment. The action is exhilarating, the comedy lands naturally and the sense of adventure is impossible to resist.

Armour of God is bold, fearless and endlessly entertaining. It captures Jackie Chan at one of the most ambitious periods of his career and stands as another reminder that few filmmakers have ever risked more to entertain an audience.